You are on page 1of 4


and Mscope
A new and unique feature of the D-21 and
D-21 HD, allowing for the first time the use
of anamorphic lenses with a standard
HD workflow.
The anamorphically squeezed image as it appears on
the D-21 or D-21 HD 4:3 sensor (2880 x 2160 pixels).

subconscious of cinema-goers for over half a

The ARRIFLEX D-21 century. Mscope offers the most cost-effective
method of utilizing a look that is inherently
and Mscope evocative of the cinema experience.

Mscope is a new and unique feature of the The anamorphic format works by using an
ARRIFLEX D-21 and D-21 HD that combines anamorphic camera lens that optically squeezes
the cinematic aesthetic of anamorphic a 2:40:1 widescreen image onto a 4:3 film
cinematography with the economy of HD frame or an electronic sensor.
acquisition. The patented Mscope process
The squeezed image can be stretched out to
for the first time allows anamorphic images
its full width for postproduction work and is
to be recorded as an HD signal.
finally projected through another anamorphic
The Anamorphic Format lens in cinemas. This process utilizes the
largest possible area on a 4:3 film frame,
and Digital Cameras
but most digital cameras have 16:9 HD
Filmmakers and audiences alike have grown up sensors and so are less than ideal for use
with the uniquely cinematic anamorphic look with anamorphic lenses.
and associate it with the emotional impact of
Uniquely, the D-21 and D-21 HD have a
big-screen movies. The sheer width and clarity
Super 35-sized 4:3 sensor that is perfect for
of the format, its depth of field, the way it
anamorphic production, and Mscope is an
handles out of focus backgrounds and flares,
output format that is available only for the
all of these have been burned into the
D-21 and D-21 HD.
After post production the image has been
downscaled and cropped to cover a 2.40:1
area (1920 x 800 pixels for HD distribution or
1728 x 1440 for ARRILASER film recording).

How Does Mscope Work? contains the odd lines. During the DI, the two The Mscope Workflow displaying either the A or B-link will show a
streams are recombined to produce a high picture of the correct proportions. The quality of
resolution, squeezed, Mscope image. From this picture is more than adequate for assessing
then on the project can be treated as a 35mm performance, exposure and focus; furthermore,
anamorphic feature, right up to laser film-out, either stream can be used immediately for
distribution and exhibition. off-line editing.

Other methods of acquiring the wide, cinematic The ARRIFLEX D-21 and D-21 HD are
image ratio of scope from a digital camera renowned for their quality, modularity and
involve cropping the picture top and bottom, flexibility, and Mscope is further proof of that,
Since NAB 2008 it has been possible to which diminishes its quality. Mscope goes the complementing as it does the well established
record the full 4:3 sensor image of the D-21 other way: it actually adds quality and resolution 4:4:4 and 4:2:2 Logarithmic and Linear options,
using the ARRIRAW Data Mode workflow. to a normal HD picture since Mscope frames as well as ARRIRAW.
For productions that do not want to use, or contain approximately 80% more scanning lines
cannot afford, the Data Mode format, ARRI than equivalent 2.40:1 scope images derived Mscope offers a complete and cost-effective
is now introducing Mscope. from ordinary 16:9 HD. pipeline from production to exhibition, using the
same postproduction route as a film-originated
In essence, Mscope allows the use of any
anamorphic DI. An added benefit of the process
35mm anamorphic lens on the D-21/D-21 HD
is how easy it is to monitor an undistorted
and records the images on an HD recorder, like
image of the proper aspect ratio on set. Though
the HDCAM SR SRW-1 for instance. This is
the anamorphic lens creates a squeezed image,
achieved by dividing the 4:3 image into two HD
each of the two HD streams contains only half
streams; the A-stream contains the even lines
the horizontal lines of that image, so a monitor
of the original frame while the B-stream